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Judy Huxtable

Judy Huxtable (born 24 July 1942 in , ) is a retired English actress and former model, best known for her supporting roles in British films and television during the and , as well as her marriage to comedian . Huxtable began her career as a fashion model in the early , becoming a prominent figure in London's scene and representing the . She transitioned to acting around 1965, appearing in a series of low-budget thrillers and comedies that capitalized on her glamorous "dollybird" persona. Notable film credits include playing Louise Saville in the horror thriller The Psychopath (1966), directed by , and roles in spy spoofs like The 2nd Best Secret Agent in the Whole Wide World (1965). Her television work included guest spots on various series, alongside stage appearances in revues like The Lord Chamberlain Regrets (1961). By the late , her acting career had wound down, with her final credited role in the comedy Get the Horn (1979), where she appeared as herself under her married name, Judy Cook. In her personal life, Huxtable was first married to theatre set designer Sean Kenny from 1966 until their divorce in 1973. She met in 1967 during the production of the satirical revue Behind the Fridge, and the couple married in 1973, remaining together until their divorce in 1989 amid challenges related to Cook's personal struggles. The marriage produced no children, but Huxtable later reflected on their relationship in her 2008 memoir Loving Peter: A Life with Peter Cook and , which details their time together during Cook's collaborations with and offers insights into the comedian's life and career.

Early life

Birth and family background

Judy Huxtable was born in 1942 in , , to parents who resided in the countryside at Mill House. Her father worked as an insurance underwriter, providing the family with the means to engage in elite social circles. The family's high social standing positioned Huxtable as a prominent débutante in the early 1960s, culminating in her presentation at Queen Charlotte’s Ball in 1960, where she was named ‘Deb of the Year’. Her coming-out ball that July, attended by approximately 200 guests, underscored their status among Britain's upper echelons. As a young woman, Huxtable's initial foray into involved attending exclusive balls, galas, and fashion-oriented gatherings, which highlighted her poise and appeal within London's fashionable set. This immersion in elite social and style circles naturally extended into her early modeling pursuits.

Education and early influences

Huxtable grew up in the countryside, the daughter of an insurance underwriter father, whose profession afforded the family a comfortable in their Mill House home. This background provided her with access to affluent social circles that shaped her early worldview and opportunities. She attended a prestigious in , where the curriculum emphasized , social graces, and preparation for entry, aligning with her family's status. At age 17, Huxtable participated in a school charity show, where she was photographed in fishnet stockings—an image that captured media attention and marked her initial foray into public visibility. This experience ignited her interest in , leading her to design her own pink satin gown for her coming-out ball on her 18th birthday in July 1960. In 1960, Huxtable made her society debut at Queen Charlotte’s Ball, an event that thrust her into the spotlight as a leading . A subsequently named her "Deb of the Year," highlighting her poise and style amid the tradition's glamour. These formative experiences, coupled with the burgeoning vibrancy of 's cultural scene, fostered her ambitions toward fashion and performance, drawing her into the emerging Swinging London milieu as a young adult.

Professional career

Modeling career

Judy Huxtable entered the modeling industry in the early 1960s following her season, where her background provided initial exposure through high-profile events and press coverage. At age 17, she was spotted at a school , leading to a photograph of her in fishnet stockings and a black published in a national newspaper, which marked her public debut as a model. She was named 'Deb of the Year' in 1960 and presented at Queen Charlotte’s Ball in a white dress, further elevating her visibility in London's circles. Represented by the , Huxtable quickly became a prominent figure in the mid- modeling scene, serving as the face of rum and Fry's campaigns. She also appeared in advertisements for Varaflame cigarette lighters, with her name explicitly mentioned in promotional materials. Her work extended to shows and features, including appearances at the Wimbledon Tennis Championships in 1960, where she showcased bold styles like cat-eye makeup and pillbox hats, embodying the era's vibrant aesthetic. As a green-eyed blonde, she emerged as a fashionable icon of , capturing the youthful, modish spirit of the time through party photographs and editorial spreads. Huxtable's modeling visibility directly facilitated her transition to acting, with her first on-screen as a walk-on in the Piccadilly Third Stop stemming from agency connections. This early success in print and runway work positioned her as a sought-after talent in the entertainment industry, bridging her modeling prominence to further opportunities in and theater.

Acting roles in film and television

Judy Huxtable's acting career emerged from her prior success as a model, which facilitated her entry into film auditions during the mid-1960s Swinging London era. Her screen debut came in the spy comedy The 2nd Best Secret Agent in the Whole Wide World (1965), where she played the role of Computer Center Girl in a supporting capacity alongside Tom Adams and . This lighthearted parody of films marked her initial foray into British cinema, showcasing her as a glamorous "dollybird" typical of the period's youthful, fashionable female characters. Huxtable gained prominence with her role as Louise Saville in the psychological thriller The Psychopath (1966), directed by Freddie Francis, where she appeared alongside Patrick Wymark and Margaret Johnston in a story of murder and deception. She continued in similar supporting parts in genre films, including the short musical Les Bicyclettes de Belsize (1968) as Julie, the mod crime drama The Touchables (1968), playing Sallie in a tale of fan obsession with a pop group, the comedy Every Home Should Have One (1970) as Joanna Snow, the horror entries Scream and Scream Again (1970), as Sylvia amidst Vincent Price and Christopher Lee's ensemble, Up the Chastity Belt (1971) as Gretel, and Die Screaming Marianne (1971), portraying Hildegard in a tale of pursuit and family secrets. These roles solidified her niche in 1960s British thrillers and horror, often emphasizing her poised, alluring screen presence. On television, Huxtable made guest appearances in prominent British series, including the espionage drama (1965), where she featured as Rosalind Fielding in the episode "English Lady Takes Lodgers," and she also participated in satirical programming, notably an episode of The Late Show (1966), a revue-style series that highlighted emerging comedic talents. Later, she collaborated with her husband in the mockumentary Get the Horn (1979), appearing as herself in the profane satire co-starring . Throughout the late and early , Huxtable maintained a steady output as a supporting actress in film and television, embodying the era's dollybird aesthetic in over a dozen credits before her acting career wound down in the late . Her contributions captured the vibrant, countercultural spirit of media, though she never transitioned to leading roles.

Personal life

Marriages and relationships

Huxtable's first marriage was to Irish theatre set designer Sean Kenny in 1966. The union, marked by Kenny's innovative work in stage design for productions like those at the Royal Court Theatre, ended in divorce in 1971 after Huxtable was cited in the petition. In 1967, while still married to Kenny, Huxtable met comedian and satirist , beginning a relationship that would span over two decades. They married on 14 February 1974, following her divorce, and the partnership lasted until their divorce in 1989. During this period, the couple shared a residence in , , a grand they acquired in 1973 that became a hub for social gatherings attended by figures from the entertainment world. Their life together was closely tied to Cook's career, with joint public appearances including a tour of Australia alongside for live shows and television recordings. Huxtable occasionally collaborated with Cook in acting projects, such as filming scenes for the Where Do I Sit?. The 16-year faced significant challenges, including Cook's struggles with and infidelities, which strained their relationship.

Family and residences

Judy Huxtable had two sons from her first marriage to theatre designer Sean Kenny: Shane Kenny, an , and Mac Kenny, a . Her marriage to in 1974 integrated her into a blended family, where she became to his two daughters from his previous marriage, and , who were born in 1964 and 1965, respectively. Family life during this period was marked by the challenges of Cook's career and personal habits, with the stepdaughters occasionally involved in household activities at their shared homes. In the late 1960s and early 1970s, Huxtable resided in , initially sharing Kenwood Cottage on Millfield Lane in with before their ; this 16th-century farmhouse served as a creative hub where they collaborated on television projects. The couple acquired and moved to the property at Perrins Walk in in 1973, prior to their , a historic that became a center for social gatherings amid Cook's satirical circle. After their divorce in 1989, Huxtable relocated to the English countryside, seeking a quieter life away from 's intensity.

Later years

Retirement and public profile

After concluding her acting career with her final role in the comedy film Derek and Clive Get the Horn (1979), where she appeared as herself, Judy Huxtable retired from entertainment in the late 1970s, shifting her focus to personal matters including her marriage to comedian Peter Cook from 1974 to 1989. Following the divorce, Huxtable has maintained a relatively low public profile, though she continues to be associated with Cook's legacy as one of Britain's foremost satirists, with media references often highlighting her as his second wife during discussions of his life and career. As of 2025, now aged 83, she continues to live privately. In late 2022, at age 80, Huxtable endured a prolonged stalker ordeal at her home that began in mid-2021 and lasted over 18 months, involving nighttime intrusions, theft of personal items, and disturbing acts like cutting her clothing and leaving markings, which severely disrupted her private retirement life and prompted her to spend more time away from the property with friends. The incident, involving a local individual known to police for prior offenses, underscored ongoing vulnerabilities in her post-career existence despite her desire for seclusion.

Memoir and writings

In 2008, Judy Huxtable, writing under her married name Judy Cook and with journalist Angela Levin, published the memoir Loving Peter: My Life with and through Piatkus Books. The book chronicles her two-decade relationship with the comedian , beginning with their meeting in 1967 and culminating in their 1989 divorce, while also exploring the professional and personal dynamics of Cook's comedy partnership with . The memoir provides intimate insights into Cook's private life, portraying him as a devoted yet troubled husband amid his battles with and drug use, and as a father to his daughters and from his previous marriage. It delves into the couple's experiences during the vibrant cultural scenes of the and 1970s Swinging , including social excesses and the challenges of fame, as well as the strains from Cook's career fluctuations and the comedic rivalry between and in projects like . The book's narrative blends humor and poignancy, offering reflections on the era's hedonism and the personal toll of celebrity, while emphasizing her own perspective as a model and actress navigating these worlds. Critically, the book received mixed but generally appreciative reviews for its candid revelations about Cook's character, with noting its exploration of his early rejections and emotional vulnerabilities in an epilogue. It has been praised for preserving Cook's legacy by humanizing the "godfather of British satire" through a family member's eyes, though some readers critiqued its focus on personal grievances. On platforms like and , it holds average ratings of 3.46/5 from 37 reviews and 3.9/5 from 41 ratings, respectively, with commentators highlighting its gripping honesty and emotional depth. No other significant writings by Huxtable have been published.

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